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Dutch  and  Flemish 


Blakeslee  Galleries 

Cor.  Fifth  Avenue  and  34th  Street 


New  York 


- • 


I 


CATALOGUE 


DANIEL  MYTENS 


SIR  WILLIAM  CROFTS 


EARLY  ENGLISH,  DUTCH  AND  FLEMISH 


PAINTINGS 


AT  THE 

BLAKESLEE  GALLERIES 

353  FIFTH  AVENUE,  COR.  THIRTY-FOURTH  STREET 


NEW  YORK 
1899 


the  j.  p/>irL 


CCT7Y 


ti'JSEUM  LIBRARY 


NOTE. 


Some  of  the  paintings  included  in  this  catalogue 
have  passed  from  Mr.  Blakeslee's  hands  since  the 
work  was  commenced. 

Where  the  kind  permission  of  the  purchaser  was 
obtained  the  illustrations  remain. 


INTRODUCTION. 


From  Holbein  to  Sir  Joshua  Reynolds,  from  Van  Dyck 
and  Rubens  to  Constable  and  Turner,  the  Englishman  has 
filled  his  palace,  country  house,  or  town  residence  with  abid- 
ing works  of  the  world’s  best  painters,  until  to-day  England 
is  a perfect  storehouse  of  fine  pictures.  In  that  remarkable 
period  from  1580  to  1660,  when  the  great  painters  of  Flanders 
and  Holland  had  difficulty  in  disposing  of  their  productions  at 
home,  they  found  a ready  market  across  the  Channel.  The 
result  is,  that  Rembrandt,  Hals,  Hobbema,  Van  Dyck, 
Rubens,  Jan  Steen,  Terburg,  and  a great  coterie  of  the  princes 
of  art  contributed  their  masterpieces  to  make  England  the 
repository  of  their  talents. 

It  is  only  of  recent  years,  however,  that  a proper  appre- 
ciation of  these  works  has  manifested  itself  in  this  country. 
The  French  painters,  by  their  dexterity  and  surface  qualities, 
as  was  natural,  appealed  to  the  unformed  tastes  of  the 
masses,  not  yet  educated  to  the  higher  requirements  of  art ; 
later  came  the  interest  in  the  Barbizon  painters,  known  as 
the  “ men  of  thirty,”  whose  splendid  productions,  however, 
were  limited  ; then  came  the  desire  for  something  more  last- 
ing than  the  fashionable,  modish,  story-telling  later  Parisians — 
the  intellectual  and  the  artistic  were  to  be  satisfied.  These 
requirements  were  only  to  be  found  among  the  truly  great 
in  the  history  of  art ; men  who  had  stood  the  test  of  time 
and  who  had  built  on  strong  foundations  of  truth,  serious- 
ness, and  masterly  ability  to  draw,  construct,  and  color.  But 
these  were  difficult  to  obtain. 


The  mutations  of  time,  however,  have  wrought  changes  in 
the  fortunes  of  many  of  England’s  great  families,  and  there 
has  come  occasionally  the  inevitable  need  for  money.  Col- 
lections, for  one  reason  or  another,  have  been  dispersed;  death 
and  the  division  of  great  estates  have  scattered  galleries  and 
furnished  opportunities  to  secure  masterpieces  for  centuries 
the  proud  possessions  of  royalty,  nobility,  or  the  Croesus  of 
his  time. 

Attracted  early  to  these  canvases,  buying  at  a time  even 
when  there  was  little  market,  we  have  established  not  only 
unusual  and  exclusive  relations  with  English  and  foreign 
agents  for  the  securing  of  these  works,  but  we  make  bold  to 
lay  claim  to  an  expert  knowledge  of  the  men,  their  methods 
and  characteristics,  that  has  enabled  us  to  select  intelligently 
and  authoritatively  canvases  that  worthily  represent  their 
talent  and  best  efforts.  For  several  years  we  have  dealt 
almost  exclusively  in  such  works,  and  our  importations  of 
recent  years  have  included  some  of  the  most  important 
examples  of  the  older  masters,  and  in  particular  the  early 
Englishmen,  from  Sir  Joshua  through  all  his  contemporaries 
and  followers,  that  have  ever  been  brought  to  this  country. 
These  canvases  we  have  placed  in  the  galleries  of  many  of 
the  greatest  collectors  in  America,  where  they  remain  among 
their  most  prized  possessions.  In  offering  this  catalogue, 
which  covers,  of  course,  only  a minor  portion  of  the  paintings 
in  the  gallery,  and  which  i^  the  second  of  a series  whereof  the 
first  was  received  with  much  favor,  it  is  announced  that 
many  of  the  works  included  since  the  catalogue  was  com- 
menced have  passed  from  our  possession.  It  has  been 
deemed  wise,  however,  to  allow  the  reproductions  to  be 
included  in  this  edition,  and  where  the  permission  of  the 
purchaser  has  been  obtained  the  present  ownership  is  given. 

T.  J.  Blakeslee. 

353  Fifth  Avenue,  cor.  of  34TH  Street, 

New  York  City,  1899. 


CATALOGUE 

1899 


No.  J 


(Frontispiece.) 

DANIEL  MYTENS. 

1590 — 1656. 

Sir  William  Crofts. 

Height,  80  inches.  Width,  50  inches. 

MYTENS  came  to  England  from  Holland  early  in  his 
career,  and  achieved  a flattering  success,  being  court  painter 
to  Charles  I.  until  he  was  supplanted  by  Van  Dyck.  He 
painted  much  in  the  same  manner  as  Van  Dyck,  although 
Mytens  was  not,  as  is  sometimes  erroneously  asserted,  an 
imitator,  for  his  technique  was  the  same  long  before  the 
talented  man  from  Antwerp  appeared  on  the  scene.  Many 
of  his  great  portraits  remain  in  England,  and  are  highly 
prized  by  reason  of  their  excellence  of  color,  drawing,  and 
modelling.  No  more  worthy  example  has  come  to  this 
country  than  this  canvas  of  Sir  William  Crofts,  who  is  repre- 
sented standing  against  a noble  tree,  behind  which  a fine  land- 
scape stretches  away  in  the  distance.  Gentleness,  the  dig- 
nified poise  of  the  figure,  and  the  nobility  of  countenance  are 
all  the  work  of  an  undisputed  master,  and  the  color  scheme 
is  particularly  refined  and  attractive. 

Formerly  in  the  collection  of  Joseph  Addison  and  the  Countess  of 
Warwick,  Bilton  Hall,  Rugby.  Prior  to  this  the  canvas  had  been  in 
the  Holland  House.  Sir  William  Crofts,  created  Baron  Crofts  1655, 
married  an  aunt  of  Admiral,  the  Earl  of  Warwick,  and  held  an  ap- 
pointment in  the  household  of  Queen  Henrietta  Maria,  and  died  in 
1662. 


No.  2. 

MADAME  VIGEE  LE  BRUN. 

1775— \ 842. 

Portrait  of  Madame  Le  Brun. 

Height,  34  inches.  Width,  28  inches. 

It  is  recorded  Madame  Le  Brun  painted  no  less  than 
twenty-five  portraits  of  Marie  Antoinette,  with  whom  she 
was  on  terms  of  great  intimacy. 

Portrait,  history,  and  landscape  painter,  Madame  Le  Brun 
is  nevertheless  best  remembered  by  her  canvases  of  beauti- 
ful women,  among  whom  she  herself  was  by  no  means  the 
least  attractive.  In  this  portrait  of  herself,  which  she  has 
painted  in  her  most  engaging  manner,  she  is  shown  with  a 
book  in  her  lap,  while  in  her  hand  she  holds  a pen.  Gowned 
in  an  evening  dress  cut  low,  she  discloses  a charming  neck 
and  shoulders  beautifully  modelled,  while  her  face  is  piquant 
and  delicate  in  its  regular  outlines.  Her  hair  is  dressed  with 
much  elaboration,  a scarf  being  twined  among  her  curls, 
which  fall  over  her  neck,  and  at  her  breast  there  is  tied  a 
knot  of  ribbons. 

Now  in  the  collection  of  Mr.  C.  P.  Huntington. 


MADAME  VIGEE  LE  BRUN 


PORTRAIT  OF  MADAME  LE  BRUN. 


No.  3. 


FRANCOIS  CLOUET. 

t5t6 — J573. 

Portrait  of  a Man. 

Height,  7^  inches.  Width,  6#  inches. 

Succeeding  his  father  as  court  painter  to  Francis  I., 
Clouet  continued  in  the  same  position  under  Francis  II.  and 
Charles  IX.  To-day  his  pictures  are  rare  and  most  difficult 
to  obtain ; they  are  appreciated  for  their  unique  charm  of 
remarkable  detail,  excellent  drawing,  and  color.  The  famous 
European  galleries  contain  portraits  by  him  of  various 
sovereigns,  for  he  was  preeminently  a painter  of  royalty, 
including  Francis  I.  and  II.,  Henry  II.  and  III.,  Catherine 
de  Medici,  Charles  IX.  and  his  wife,  Elizabeth  of  Austria. 
This  small  panel  has  all  the  qualities  of  a great  canvas,  for, 
though  done  in  miniature,  it  is  approached  with  wonderful 
breadth,  and  is  thoroughly  large  in  conception.  It  is  of  a 
man  garbed  in  black,  wearing  a pointed,  dark  beard. 


No.  4. 


SIR  THOMAS  LAWRENCE. 

1769 — J830. 

Mrs.  Gibbon  as  Miranda. 

Height,  80  inches.  Width,  50  inches. 

DISTINGUISHED  as  was  Lawrence  for  his  interpretation 
of  the  beauty  of  English  womanhood,  it  was  rarely  that  he 
accomplished  such  results  as  may  be  seen  in  this  canvas, 
large  and  important,  of  the  lovely  Mrs.  Gibbon  in  the  char- 
acter of  Shakespeare’s  Miranda.  Mrs.  Gibbon  was  one  of 
the  attractive  fashionable  women  of  the  day,  and  the  painter 
has  kept  to  her  personality,  giving  at  the  same  time  a sat- 
isfying interpretation  of  the  heroine  of  the  great  bard,  as 
Mrs.  Jameson  puts  it,  “ beautiful,  modest,  and  tender.”  She 
is  arrayed  in  a diaphanous  drapery  of  simple,  flowing  lines, 
girdled  in  at  the  waist  with  a band,  while  a scarf  floats  airily 
from  the  shoulder  and  is  caught  by  the  left  hand  as  it  makes 
a graceful  curve.  The  lady  walks  along  the  shore,  on  which 
dashes  a somewhat  angry  sea,  and  above  is  a sky  cloud-laden 
with  a storm  at  the  horizon.  The  face  is  full  of  sweet,  digni- 
fied beauty,  while  the  size  of  the  canvas  lends  added  im- 
portance. It  is  unquestionably  the  most  distinguished  ex- 
ample of  Lawrence’s  work  ever  brought  to  America. 

Purchased  of  Mr.  Gibbon,  whose  father  commissioned  the  picture 
from  Lawrence. 

Now  in  the  collection  of  Mr.  George  J.  Gould. 


SIR  THOMAS  LAWRENCE 


MRS.  GIBBON  AS  MIRANDA 


No.  5. 

SIR  JOSHUA  REYNOLDS. 

J723— J792. 

The  Flageolet  Player. 

First  president  of  the  Royal  Academy,  one  of  the  most 
successful  men  that  ever  graced  his  profession,  beloved, 
admired  and  deeply  respected,  Sir  Joshua  Reynolds  devoted 
his  whole  life  and  talents  to  his  art,  and  enjoyed  the  greatest 
measure  of  prosperity.  His  portraits  of  children  are  among 
his  most  unique  productions,  for  he  caught  the  evanescent 
charm  of  infancy  with  unerring  directness  and  sympathy. 
The  little  man  here,  ruddy  of  cheek  and  with  serious,  pre- 
occupied air,  is  playing  a flageolet.  The  mouth  is  drawn 
up,  the  eyes  look  straight  ahead,  and  the  strong  light  by 
which  the  face  is  illuminated  throws  powerful  shadows. 
Rich  glazes  give  a wonderful  mellowness  to  the  canvas,  which 
is  unusually  full  of  color. 


No.  6. 

SIR  ANTHONY  VAN  DYCK. 

1599— J64J. 

The  Mystical  Marriage  of  St.  Catherine. 

Height,  46  inches.  Width,  46  inches. 

The  elegant  portrait  painter  who  enjoyed  the  royal  favor 
of  Charles  I.  and  his  court  seems  a different  man  when,  freed 
from  the  portrait  demands  of  royalty  and  the  world  of 
fashion,  he  gave  himself  up  to  depicting  religious  themes. 
His  great  masterpieces,  which  have  held  the  world’s  atten- 
tion since  their  inception,  proclaim  him,  however,  the  abiding 
genius  of  his  day,  and  this  example  is  additionally  interest- 
ing by  reason  of  its  delicacy  of  conception  and  charm  of 
painting.  The  legendary  St.  Catherine,  who  was  said  to  be 
an  Alexandrian  of  noble  extract,  and  put  to  death  by  Maxi- 
minus for  confessing  Christ  A.D.  307,  is  credited  with  a 
heavenly  vision  in  which  she  was  betrothed  to  Christ  with  a 
ring.  How  beautifully  Van  Dyck  has  carried  out  the  theme 
may  be  seen  in  this  picture,  wherein  the  centre  figure  is  the 
Child  Redeemer  on  the  lap  of  the  Virgin,  holding  in  His 
hand  the  ring  with  which  he  betroths  St.  Catherine. 

“ The  divine  expression  and  graceful  elegance  of  the  Virgin 
and  the  splendid  coloring  and  masterly  handling  of  the  Infant 
merit  the  highest  commendation.  The  superlative  beauty 
of  the  Virgin  has  long  acquired  for  the  picture  the  dis- 
tinguished appellation  of  La  plus  belle  des  Vierges." 

For  many  years  the  property  of  the  Marquis  of  Cholmondeley, 
Houghton  Hall. 

Smith’s  Catalogue  Raisonne,  No.  108,  of  Supplement. 

Now  in  the  collection  of  Hon.  Chas.  F.  Sprague. 


SIR  ANTHONY  VAN  DYCK. 


MYSTICAL  MARRIAGE  OF  ST.  CATHERINE 


No.  7. 


SIR  THOMAS  LAWRENCE. 

1769 — J830. 

Mrs.  Hammond. 

Height,  30  inches.  Width,  25  inches. 

The  successor  of  Benjamin  West  to  the  presidential  chair 
of  the  Royal  Academy,  Lawrence  enjoyed  a great  vogue  in 
London  during  his  life,  painting  royalty,  nobility,  and  the 
great  literary  and  social  lights  of  his  country,  and  many 
foreign  celebrities.  It  was  in  his  portraits  of  women  and 
children  that  he  most  excelled,  however,  and  he  was  never 
happier  than  when  painting  beautiful  English  femininity. 
The  lovely  girl  depicted  here  is  of  the  type  with  which  he 
succeeded  so  well.  She  wears  an  evening  dress  of  black 
edged  with  lace  and  cut  low.  A beautiful  neck  and 
shoulders  are  surmounted  by  a no  less  attractive  face 
wreathed  in  a mass  of  nut-brown  curls.  One  hand  rests  on 
the  arm  of  a chair,  and  behind  is  a crimson  curtain. 


2 


No.  8. 


JACOBELLO  DEL  FIORE. 

I 385— I 439. 

Madonna  and  Child. 

Height,  30  inches.  Width,  24  inches. 

President  of  the  Guild  of  Painters  of  Venice  and  painter 
of  the  famous  “ Lion  of  St.  Marc  ” in  the  Ducal  Palace  and 
the  “ Madonna  ” in  the  Venice  Academy,  Jacobello  del  Fiore 
was  a man  of  great  distinction  in  his  day.  He  also  has  a 
large  picture,  “ Coronation  of  the  Virgin,”  in  the  sacristy 
of  the  Duomo  at  Ceneda.  He  was  a pupil  of  his  father, 
Francesco.  The  Madonna  in  this  composition  kneels  before 
the  Child  in  adoration  ; behind  is  a diversified  landscape  full 
of  symbolism  ; nearby,  curiously  arranged,  is  the  cow  in  the 
manger,  and  the  Babe,  entirely  nude,  appeals  to  the  Mother. 
A nimbus  is  over  the  Virgin’s  head,  and  a long  dark  cloak 
falls  in  regular  lines  from  her  shoulders.  The  early  primi- 
tive Italian  manner  is  apparent  in  the  treatment  of  the 
details  and  the  arrangement  of  the  personages,  and,  as  was 
usual  in  the  works  of  these  early  painters,  there  is  great 
sincerity,  deep  religious  conviction,  and  a profound  feeling 
of  devotion  throughout. 

Formerly  in  the  collection  of  Col.  Hankey. 

Now  in  the  collection  of  Mr.  J.  G.  Johnson. 


JACOBELLO  DEL  FIORE. 


MADONNA  AND  CHILD 


No.  9, 


FERDINAND  BOL. 

t6U— J68I. 

Portrait  of  Anna  Maria  Schurman. 

Height,  32  inches.  Width,  26  inches. 

A PUPIL  of  Rembrandt,  and  later  a serious  rival  with  him 
for  popular  favor,  Bol  was  a prolific  worker,  whose  pictures 
are  among  the  most  prized  possessions  of  the  great  galleries 
of  Europe.  There  are  ten  of  his  canvases  at  the  Hermitage 
in  St.  Petersburg ; four  at  Paris,  Brussels,  and  Dresden  ; three 
at  the  National  Gallery,  London ; and  others  in  The  Hague, 
Berlin,  Munich,  Rotterdam,  Dresden,  and  Frankfort ; while  in 
the  Town  Hall  in  Amsterdam  is  his  masterpiece,  “ Four 
Regents  of  the  Leprosy  Hospital,”  and  the  museum  of  that 
city  contains  many  portraits.  The  lady  in  this  portrait 
wears  over  her  black  dress  an  embroidered  white  collar  and 
cuffs,  on  the  painting  of  which  the  artist  has  performed 
wonders.  The  simplicity  of  the  brush-work  and  the  manage- 
ment of  the  whites  are  truly  remarkable,  yet  these  in  no 
wise  detract  from  the  excellence  of  the  flesh-painting,  the 
face  receiving  the  most  careful  attention  and  being  the 
centre  of  attraction.  A fan  is  held  in  the  left  hand,  and  the 
figure  is  standing.  Great  distinction  is  everywhere  apparent 
in  the  canvas. 


No.  10. 


FEDERIGO  ZUCCARO. 

1543 — 1609. 

Portrait  of  Queen  Elizabeth. 

Height,  30  inches.  Width,  25  inches. 

THIS  interesting  panel  of  the  Virgin  Queen  shows  her 
capricious  majesty  in  a most  regal  and  elaborate  costume, 
heavily  embellished  with  jewelry.  She  wears  a ruff  of  deli- 
cate lace  and  needlework  of  cobweb-like  texture.  Her  blond 
hair  is  dressed  with  precious  stones  and  surmounted  with  a 
crown;  about  her  neck  are  more  jewels.  The  texture  of  the 
costume  is  truly  remarkable,  while  the  face  is  curiously  in 
the  character  as  history  shows  the  woman.  It  is,  perhaps, 
as  the  portraitist  of  Queen  Elizabeth  that  Zuccaro  is  best 
remembered,  although  he  led  a busy  life  and  was  patronized 
by  some  of  the  greatest  of  royalty  and  the  nobility,  includ- 
ing Popes  Gregory  XIII.  and  Pius  IV.,  Philip  II.  of  Spain, 
and  the  Grand  Duke  of  Florence.  It  is  said  that  Mary, 
Queen  of  Scots,  sat  for  him,  and  he  was  the  founder  of  the 
famous  Academy  of  St.  Luke  in  Rome. 

No.  288  of  the  Exhibition  of  the  Royal  House  of  Tudor.  Lent 
by  Mrs.  Snare.  Also  described  by  Freeman  M.  O’Donoghue,  F.S.A., 
of  the  Department  of  Prints,  British  Museum,  in  his  work,  “A 
Description  and  Classified  Catalogue  of  Portraits  of  Queen  Eliza- 
beth, No.  58.” 

Now  owned  by  Mrs.  F.  G.  Macomber. 


ZUCCARO. 


avtk 


imm 


QUEEN  ELIZABETH. 


No.  H. 


ADRIAAN  HANNEMAN. 

\6\\ — J680. 

Portrait  of  Lady  Dorothy  North. 

Height,  37  inches.  Width,  29  inches. 

Born  at  The  Hague,  a pupil  of  Ravesteyn,  and  a great 
admirer  of  Van  Dyck,  Hanneman  enjoyed  a great  reputation 
and  patronage  in  his  native  town.  The  success  of  Van  Dyck 
in  London,  however,  induced  him  to  visit  that  metropolis, 
where  for  sixteen  years  he  had  great  prosperity,  painting 
royalty  and  the  nobility  of  the  day.  On  returning  to  Hol- 
land he  became  court  painter  to  Mary,  Princess  of  Orange, 
and  a director  of  the  Academy.  He  is  represented  in  the 
collections  at  Hampton  Court,  the  Vienna  Gallery,  the 
Rotterdam  Museum,  and  that  in  Frankfort. 

The  Lady  North  here  stands  in  graceful  attitude,  holding 
between  her  dainty  fingers  the  ends  of  a diaphanous  lace 
scarf.  Her  hands  are  painted  with  rare  dexterity,  while  the 
drawing  is  quite  unusual.  She  is  dressed  in  an  evening 
gown  of  white  satin,  equally  excellent  in  painting,  and  con- 
trasting delicately  with  the  flesh  tones  of  a well-proportioned 
neck  and  shoulders.  The  smiling  face  is  expressive,  and  the 
blond  ringlets  carry  out  the  delicate  color  scheme  of  the 
painting. 

From  the  collection  of  the  late  Countess  of  Waldegrave. 


No.  12. 


MATTEO  ROSELLI. 

1578—  1651. 

The  Holy  Family. 

Height,  37  inches.  Width,  37  inches.  Circle. 

In  favor  with  the  Grand  Duke  Cosimo  II.,  for  whom  he 
executed  several  frescos  representing  the  history  of  the 
Medici  family,  Roselli  is  said  to  have  founded  a school  of 
which  many  famous  Italian  painters  were  pupils.  He  is  well 
represented  in  Florence  with  pictures  and  frescos  in  the 
Pitti  and  Uffizi  galleries,  the  Academy,  and  the  churches 
of  S.  Annunziata,  S.  Gaetano  and  Oginssanti,  as  well  as  in 
the  Poggio  Imperiale.  Quite  primitive  in  conception  and 
rendering,  this  circular  panel  is  most  interesting  in  the  com- 
position of  the  Virgin  kneeling  before  the  Holy  Child,  who, 
quite  nude,  reclines  on  the  ground.  Beside  Him  the  infant 
St.  John  holding  a cross,  and  in  the  background,  in  front  of 
a stable,  leaning  on  a saddle,  is  Joseph.  To  the  left  a formal 
landscape  stretches  away,  showing  a valley  and  many  trees. 
One  cannot  but  be  impressed  with  the  earnestness  of  the 
painter  and  the  loving  care  bestowed  on  every  detail,  the 
thoughtful,  maternal  expression  on  the  face  of  the  Mother, 
and  the  infantile  purity  of  the  Son  of  Man.  There  is  a 
wonderful  charm  throughout  the  picture,  and  time  has  given 
the  added  attraction  of  great  mellowness. 

Now  in  the  collection  of  Mr.  Dudley  L.  Pickman. 


MATTE  O ROSELLI. 


THE  HOLY  FAMILY. 


No.  13. 


SIR  WILLIAM  BEECHY. 

1 753— l 839. 

Portrait  of  a Lady  in  White. 

Height,  30  inches.  Width,  25  inches. 

When  George  III.  was  King,  among  his  favorite  por- 
trait painters  was  Sir  William  Beechy,  who  received  also 
the  favor  of  that  monarch’s  consort,  Queen  Charlotte,  and 
was  made  her  official  artist.  In  this  capacity  he  spent  much 
time  at  Windsor  as  instructor  to  the  princesses.  For  this  por- 
trait Beechy  had  for  a model  a handsome  English  girl,  whose 
fresh  face  is  set  off  by  a simple  white  gown.  A dark  lace 
shawl  has  dropped  down  and  is  caught  over  her  arms.  About 
her  brown  hair  is  a blue  ribbon,  and  in  her  hands  a sheet  of 
music.  To  the  left  is  an  arbor,  over  which  trails  honey- 
suckle, and  the  background  is  a summer  sky. 


No.  14. 

PAULUS  MOREELSE. 

J57I — J638. 

Portrait  of  Madame  Van  Tromp. 

Height,  50  inches.  Width,  40  inches. 

MOREELSE,  one  of  the  famous  painters  of  Holland,  was 
highly  appreciated  in  his  native  town  of  Utrecht,  where 
he  was  high  in  political  circles  and  a painter  of  the  principal 
personages  of  his  native  land.  Some  of  his  portraits  include 
Princess  of  Hanau,  Frederick  of  Bohemia,  and  the  Countess 
Ernestine  of  Nassau,  as  well  as  others.  His  pictures  are 
in  many  of  the  great  houses  and  galleries  of  Europe.  The 
lady  here  shown  wears  the  lace  cap  and  cuffs  of  the  times 
with  a great  ruff.  She  is  standing,  with  one  arm  leaning 
on  a chair,  while  the  other  holds  a glove.  In  the  right  hand 
is  a large  fan  of  peacock  feathers.  The  dress  is  elaborately 
embroidered  down  the  front  and  spreads  out  from  the  waist. 
Her  face  is  dignified  and  reposeful,  and  painted  with  great 
power  in  spite  of  the  attractive  detail  the  artist  has  bestowed 
upon  it. 

From  the  Van  der  Hoop  collection,  Amsterdam. 


PAULUS  MOREELSE 


MADAME  VAN  TROMP. 


No.  15. 


SIR  ANTHONY  VAN  DYCK. 

1599—164*. 

Portrait  of  Henrietta  Maria. 

Height,  41  inches.  Width,  32  inches. 

COURT  painter  to  Charles  I.,  favored  by  nature,  hand- 
some, gifted,  successful,  Van  Dyck  in  his  forty-two  years  of 
life  managed  to  encompass  the  work  of  several  lifetimes. 
Masterly  in  the  handling  of  his  material,  deft  draughtsman 
and  refined  colorist,  he  gave  a unique  distinction  to  every 
canvas  he  touched.  Painting  many  portraits  of  this  attrac- 
tive consort  of  his  royal  patron,  he  yet  approached  his  theme 
always  with  a certain  loving  enthusiasm.  In  this  picture  she 
is  represented  three-quarter  length,  standing,  her  arms  folded 
across  the  waist.  As  usual,  the  hands  have  received  the 
master’s  attention  and  are  indicated  with  a delicacy  and 
charm  quite  his  own.  The  patrician  head  with  its  mass  of 
dark-brown  ringlets  is  admirably  poised,  and  the  daintily 
formed  neck  and  shoulders  stand  well  relieved  by  the  sim- 
plicity of  the  black  gown  trimmed  with  white  lace.  To  the 
right  a red  curtain  harmonizes  with  the  color  scheme,  while 
two  pink  roses  held  in  the  hand  give  just  the  note  needed  to 
bring  the  composition  together. 

From  the  Shandon  collection. 


No.  16. 


SIR  ANTHONY  VAN  DYCK. 

\599 — J64J. 

The  Earl  of  Arundel. 

Height,  46  inches.  Width,  37  inches. 

Van  Dyck,  the  elegant,  suave,  distinguished  Fleming, 
court  painter  to  Charles  I.,  the  fashionable  favorite  and  the 
admired  among  his  brother  artists  of  all  times,  never  touched 
a canvas  without  leaving  the  ineffaceable  marks  of  his  genius. 
This  portrait  of  the  Earl  of  Arundel  represents  a patrician, 
intellectual  man  of  middle  life,  clad  in  black,  with  white  ruff 
and  cuffs,  standing  against  a background  of  gray  wall  open- 
ing out  to  a landscape  seen  at  the  right.  On  the  left 
hand  is  a glove  half  on,  while  the  hand  is  outstretched. 
The  face  is  that  of  an  individual  of  mental  attainments,  and 
the  work  is  enveloped  in  a soft,  harmonious  atmosphere,  most 
engaging  in  its  artistic  qualities.  It  is  also  brushed  in 
with  authority,  with  masterly  touch  and  exceeding  knowl- 
edge. 


Now  in  the  collection  of  Mr.  B.  L.  Cable. 


SIR  ANTHONY  VAN  DYCK 


EARL  OF  ARUNDEL. 


No.  M. 


JAKOB  JORDAENS. 

1 593— \ 678. 

Portrait  of  Helena  Fourment,  Second  Wife  of 
Rubens. 

Height,  28  inches.  Width,  23  inches. 

Friend  and  fellow-student  with  Rubens,  Jordaens  was 
helped  by  his  brilliant  friend,  who  obtained  for  him  many 
commissions.  He  had  for  patrons  the  King  of  Sweden  and 
Princess  Amelia  of  Orange.  He  also  painted  a series  of  car- 
toons for  the  King  of  Spain  from  the  designs  by  Rubens. 
This  portrait  of  his  friend’s  wife,  the  beautiful  Helena  Four- 
ment, surely  does  justice  to  the  lady  whom  Rubens  married 
when  he  was  fifty-three  years  old,  and  who  it  may  be  said 
was  the  daughter  of  his  first  wife’s  sister — a girl  of  but  six- 
teen. Jordaen’s  portrait,  however,  represents  her  at  a more 
mature  age,  though  still  beautiful,  and  her  ample  figure,  with 
its  charm  of  poise,  its  freshness,  and  womanly  dignity,  has 
furnished  unquestioned  inspiration.  The  rendition  is  refined, 
the  color  delicate  and  harmonious,  and  the  brush-work  expres- 
sive. Her  hair,  dark  as  her  black  dress,  falls  in  wavy  masses, 
and  about  her  neck  is  a string  of  pearls.  One  hand  holds  a 
transparent  lace  scarf  at  her  breast.  Jordaens  is  well  repre- 
sented in  all  the  prominent  galleries  in  Europe,  having  famous 
works  in  the  Louvre,  Paris ; the  Hermitage,  St.  Petersburg; 
Madrid,  Brussels,  Antwerp,  Dresden,  Vienna,  Florence,  The 
Hague,  and  other  cities.  It  may  indeed  be  said  that  he 
rivalled  his  friend,  the  masterful  Rubens. 

Now  in  the  collection  of  Hon.  Chas.  F.  Sprague. 


No.  J8. 

MATTEO  DA  SIENA. 

Also  called  Matteo  di  Giovanni  (di  Bartolo). 

About  1435—1495. 

Madonna  and  Child. 

Height,  23  inches.  Width,  14  inches. 

AMONG  all  the  painters  of  Siena  none  was  accounted  the 
superior  to  this  man,  whose  great  masterpiece,  the  “ Madonna 
della  Neve,”  is  in  the  church  of  that  name  in  his  native 
city.  Another  great  canvas,  “ Virgin  Enthroned  with 
Angels,”  is  at  the  Academy  in  Siena,  where,  indeed,  are 
most  of  his  pictures.  The  National  Gallery  of  London, 
however,  possesses  his  “ Ecce  Homo”  and  an  Assumption. 
The  present  canvas  is  thoroughly  characteristic,  representing 
as  it  does  a holy  mother  with  child,  two  attending  angels 
being  seen  behind  the  principal  figure.  The  formal,  primi- 
tive treatment  of  the  theme  is  delightful,  and  the  drawing 
full  of  naive  charm.  All  the  faces  are  delicate  and  full  of 
character,  while  the  whole  is  thoroughly  imbued  with  a 
serious  religious  sentiment. 


MATTEO  DA  SIENA. 


MADONNA  AND  CHILD. 


No.  J9. 

PETER  PAUL  RUBENS 

1577— 1640. 

Portrait  of  Caspar  Gevartius. 

Height,  23  inches.  Width,  19  inches. 

The  simple  directness  of  the  brush-work  in  this  portrait, 
combined  with  the  full,  luscious  color,  stamps  the  master’s 
hand  at  the  first  glance.  Friend  of  Van  Dyck  and  Rubens, 
and  secretary  to  the  town  council,  Gevartius  offered  Rubens 
an  inspiration  not  always  forthcoming  from  his  sitters.  That 
he  made  the  best  of  his  opportunities  is  obvious,  for  the 
canvas  bears  the  evident  mark  of  a labor  of  love.  Wonder- 
fully modelled,  painted  frankly  and  artistic  in  every  way, 
this  picture  is  unusually  forceful  and  satisfying.  The  model 
wears  a pointed  beard,  and  has  his  somewhat  thin  hair 
brushed  back  from  his  forehead.  About  him  is  a red  cloak 
or  gown,  from  under  which  is  seen  a white  collar. 


No.  20. 


RICHARD  WILSON. 

J7J4 — J782. 

Classic  Italy. 

Height,  40  inches.  Width,  50  inches. 

WILSON  must  be  considered  one  of  the  four  greatest  land- 
scape painters  which  England  produced  in  the  eighteenth 
century,  the  other  three  being  Constable,  Gainsborough,  and 
Crome,  and  by  many  he  is  considered  to  outrank  them  all. 
His  works  have  steadily  and  consistently  enhanced  in  value. 

“ His  art  possesses  some  of  the  highest  qualities  in  the  reach  of  the 
landscape  painter.  Purely  classic  and  noble  in  his  conceptions,  he  gave 
a new  aim  to  the  English  school.  Strong  in  his  impressions  of  Nature’s 
truths,  vigorously  and  powerfully  painted,  grandly  poetic  in  tone  and 
color,  yet  broadly  and  simply  treated,  his  works  will  secure  him  an  im- 
perishable name  in  the  English  school.” — Redgrave,  “Dictionary  of 
Artists.” 

A quiet  stream  in  this  composition  flows  through  a poetic 
country,  the  banks  being  lined  with  the  remains  of  classic 
architecture,  wherein  old  columns  stand  here  and  there  against 
the  sky,  and  masses  of  tree-forms  are  to  the  right  and  left. 
Over  this  is  a characteristic  sky  ablaze  with  tender  brilliancy. 
It  is  of  a variation  of  yellow  tones,  and  is  painted  with  all  the 
feeling  and  appreciation  of  the  sentiment  of  the  hour.  This 
glow  diffuses  itself  over  the  landscape,  while  the  distance  is 
rich  and  harmonious  in  tone  and  sumptuous  to  the  last 
degree. 

Now  in  the  collection  of  Mr.  R.  C.  Johnson. 


RICHARD  WILSON 


CLASSIC  ITALY. 


No.  21. 

BARTHOLOMEUS  VAN  DER  HELST. 

t6tt — 1670. 

Portrait  of  a Gentleman. 

Height,  33  inches.  Width,  25  inches. 

A FOUNDATION  member  of  the  Painters’  Guild  of  Amster- 
dam, the  pictures  by  this  man  are  to  be  found  in  that  city 
at  its  Grand  Museum;  in  the  Louvre;  at  the  National 
Gallery,  London  ; The  Hague,  and  at  Munich.  This  portrait 
of  a Dutch  gentleman,  with  flaxen,  curling  hair,  represents 
him  seated  sideways  on  a chair,  with  one  arm  across  the 
back  and  the  other  at  his  hip.  He  is  dressed  in  black,  and 
wears  an  elaborately  embroidered  collar  and  cuffs.  There 
is  a faint  moustache,  and  the  face,  full  and  healthy,  is  typical 
withal. 


No.  22. 

NICHOLAS  ELIAS. 

Portrait  of  a Dutch  Lady. 

Height,  22  inches.  Width,  inches. 

LITTLE  is  known  of  this  excellent  painter  save  that  he  had 
some  renowned  pupils,  the  most  notable  being  Van  der  Heist. 
The  Dutch  lady  in  this  canvas  wears  the  ruff  of  the  times 
and  a head-dress  of  beautiful  needlework.  Her  dark  hair  is 
combed  back  from  the  forehead,  and  the  full,  ruddy  face  is  a 
type  of  robust  health.  In  the  detail  of  the  linen  ruff  the 
painter  has  fairly  excelled  himself.  There  are  no  less  than 
six  of  Elias’s  pictures  in  the  gallery  at  Amsterdam. 


NICHOLAS  ELIAS. 


PORTRAIT  OF  A DUTCH  LADY 


No.  23. 


PAULUS  MOREELSE. 

J57J — 1638. 

Portrait  of  a Dutch  Lady. 

Height,  43  inches.  Width,  32  inches. 

A MAN  of  many  talents,  Moreelse  was  master  and  expert 
in  three  professions,  architect,  engraver,  and  painter.  It  is 
as  the  last,  however,  that  he  claims  remembrance  and  enjoys 
the  world’s  favor,  mainly  in  the  field  of  portraiture.  Here 
he  shows  the  likeness  of  a Dutch  lady  of  quality  in  the  fash- 
ionable, if  somewhat  uncomfortable,  costume  of  her  time. 
She  is  shown  standing,  life-size,  three-quarter  length,  leaning, 
her  hand  on  the  arm  of  a carved  chair.  Her  other  hand, 
resting  lightly  on  her  hip,  holds  a glove  of  leather  with  gay 
embroidery.  The  dress  is  severe  in  its  black,  only  relieved 
by  a band  of  red  with  gold  decorations  that  go  down  the 
breast  and  fall  over  the  waist.  A cap  of  elaborate  needle- 
work and  an  enormous  ruff  complete  the  dress.  The  face  is 
painted  with  great  serious  research  after  character,  and  the 
entire  painting  is  harmonious  in  its  tonal  arrangement. 


3 


No.  24. 


HANS  HOLBEIN  (THE  YOUNGER). 

1497— 1543. 

Edward  VI. 

Height,  17^  inches.  Width,  14^  inches. 

UNIQUE  in  his  absolute  mastery  of  line  and  form,  a rare 
genius,  and  a painter  of  the  greatest  distinction,  Holbein 
gave  to  all  he  did  the  liveliest  charm  and  authority.  Painter 
to  Henry  VIII.  and  all  his  court,  received  throughout  Eng- 
land with  the  greatest  favor,  this  remarkable  man  is  one  of 
the  most  interesting  personalities  in  all  the  history  of  art. 
This  young  son  of  Henry  VIII.  by  his  wife  Jane  Seymour 
lived  but  sixteen  years,  and  this  portrait  must  have  been 
taken  towards  the  close  of  his  brief  existence.  He  is  repre- 
sented full  face,  with  boyish  mien,  clad  in  a striped  doublet 
and  wearing  a hat  with  a plume.  A lace  collar  is  about  his 
neck,  and  the  sleeves  of  his  garment  are  heavily  embroidered. 
There  is  all  the  detail  for  which  the  painter  was  famous. 

Now  in  the  collection  of  Mr.  Stanford  White. 


HANS  HOLBEIN  (THE  YOUNGER.] 


EDWARD  VI. 


V 


No.  25. 


GILLES  VAN  TILBORCH. 

1625 — J678. 

Fair  Day  in  the  Village. 

Height,  48  inches.  Width,  68  inches. 

No  less  than  four  important  pictures  by  this  distinguished 
Flemish  painter  are  at  the  gallery  of  the  Hermitage  in  St. 
Petersburg ; Brussels,  The  Hague,  Vienna,  Dresden,  and 
Copenhagen  possess  others.  His  work  is  generally  on  the 
order  of  the  present  example,  which  displays  the  common  of 
a Dutch  village  with  the  quaint  architecture  of  the  epoch. 
The  square  is  filled  with  people ; some  have  driven  in  with 
wagons  and  horses,  and  are  bringing  produce  if  not  on  pleas- 
ure bent.  Around  a grand  old  tree  to  the  left  a lot  of  merry- 
makers dance,  and  there  are  many  other  incidents  crowded 
into  the  composition  of  fights,  love-making,  of  carousing  and 
drunkenness,  of  bargaining  and  friendly  meeting ; in  short, 
it  is  a typical  scene  in  the  Dutch  village  of  the  seventeenth 
century. 


No.  26. 


FRANS  POURBUS  (THE  YOUNGER). 

1569 — 1622. 

Anna  Francina  de  Bruyns. 

Height,  46  inches.  Width,  34  inches. 

COURT  painter  to  Marie  de  Medici  and  sought  after  by 
the  nobility  and  fashion  of  his  time,  the  younger  Pourbus 
has  left  many  noteworthy  examples  of  his  skill  in  portrait- 
ure. His  attention  to  detail  is  something  extraordinary, 
and  is  achieved  at  no  expense  of  the  greater  qualities  of  his 
art.  In  the  costumes  of  his  day,  which  were  of  an  unpar- 
alleled elaboration  and  intricacy,  he  excelled  any  other 
master.  One  has  only  to  note  the  costume  of  the  lady 
in  this  canvas  to  get  a full  comprehension  of  this.  She 
wears  a ruff  and  cuffs  that  in  themselves  are  works  of  the  art 
of  needlework,  so  minute  is  the  design,  so  endless  the 
embroidery  and  cunning  the  invention.  Yet  he  has  painted 
these  with  masterly  touch,  never  neglecting  the  face,  which 
is  dignified  and  assertive  in  what  we  know  must  be  a char- 
acterful likeness.  The  gown,  too,  is  elaborate,  and  is 
trimmed  with  intricate  designs.  A girdle-chain  is  about  the 
waist,  and  the  hands  are  no  less  effective.  It  is  a most  satis- 
factory representation  of  the  art  of  this  Flemish  master, 

Now  in  the  collection  of  the  Hon.  Chas.  F.  Sprague. 


FRANS  POURBUS. 


ANNA  FRANCINA  DE  BRUYNS. 


No.  27. 


JAN  MIENSE  MOLENAER. 

J6t0 — J668. 

A Merrymaking. 

Height,  21  inches.  Width,  32  inches. 

CONSIDERED  the  best  of  a numerous  family  of  Molenaers, 
all  of  whom  were  painters,  Jan  Miense  possessed  a keen 
sense  of  humor,  a clever  brush,  and  good  color.  His  note- 
worthy pictures  are  in  the  museums  of  the  Hermitage,  St. 
Petersburg ; Rotterdam,  Amsterdam,  Berlin,  Copenhagen, 
and  Dublin.  Here  is  shown  the  interior  of  an  old  Dutch 
house  with  a great  fireplace.  Some  musicians  with  bagpipe 
and  fiddle  play  for  the  dance,  while  nearly  a score  of  peasants 
frolic  and  drink.  One  old  woman  to  the  right  is  seated  at  a 
table  and  cheers  them  on  enthusiastically ; at  her  feet  is  a 
dog  quietly  sleeping,  and  at  the  fireplace  are  some  men 
lighting  their  pipes  and  engaged  in  conversation.  The  com- 
position is  finished  in  great  detail,  and  each  face  is  a study  by 
itself.  This  is  an  unusually  representative  picture  of  the 
time,  and  should  be  in  some  museum,  as  such  examples  are 
most  rare. 


From  the  collection  of  Sir  Chas.  Turner. 


No.  28. 


REMBRANDT  VAN  RIJN. 

1607— 1669. 

Achilles. 

Height,  43^  inches.  Width,  34  inches. 

This  portrait  represents  a Trojan  warrior  wearing  a 
splendid  Greek  helmet  composed  of  steel  embossed  with 
gold  and  decked  with  a plume  of  deep-red  feathers.  A large 
shield  is  carried  on  the  left  arm,  while  the  right  hand  grasps 
a spear.  The  background  being  dark,  causes  the  face  to 
stand  prominently  out  in  its  warm,  rich  coloring  in  a charac- 
teristic manner. 

Originally  in  the  collection  of  Sir  Joshua  Reynolds. 

Smith’s  Catalogue  Raisonne,  p.  113,  No.  309. 

Mentioned  in  the  complete  works  of  Rembrandt,  by  William  Bode. 

Mentioned  in  Hermitage  (St.  Petersburg)  Catalogue  under  809 — 
a picture  similar  in  subject,  under  title  of  “ Pallas,”  being  in  that 
gallery. 

Collection  of  Sir  Charles  Robinson. 


REMBRANDT  VAN  RIJN. 


ACHILLE  S. 


No.  29. 

NICOLAAS  MAES. 

1632 — 1678. 

Portrait  of  a Nobleman. 

Height,  16  inches.  Width,  12  inches. 

Nearly  two-thirds  of  the  pictures  painted  by  Maes  are 
owned  in  England,  the  National  Gallery  possessing  three 
noteworthy  examples.  Little  is  known  of  him  save  that  he 
studied  under  Rembrandt,  and  is  considered  one  of  the  best 
of  the  Dutch  genre  painters.  This  portrait  shows  a young 
nobleman  clad  in  a yellow  doublet  and  wearing  over  his 
shoulders  a purple  scarf.  The  long  flaxen  hair  falls  in  waves 
over  his  shoulders,  and  one  arm  is  on  the  hip.  A touch  of 
white  collar  shows,  and  the  youthful  face  is  full  of  freshness 
and  animation. 


No.  30. 


CORNELIS  JANSSENS  (VAN  CEULEN). 

1 594— 1 664. 

Portrait  of  a Little  Girl  in  Red. 

Height,  42  inches.  Width,  25  inches. 

All  the  graceful  daintiness  and  charm  of  youth  are  ex- 
pressed in  this  picture  of  a little  girl,  which  is  painted  with  a 
certain  loving  tenderness  and  wonderful  attention  to  detail. 
The  subject  wears  an  easy,  ample  gown  of  red  ; her  light, 
curly  hair  is  tied  with  ribbons,  and  her  little  hands  are  re- 
lieved against  the  crimson  tones  of  her  dress,  one  of  them 
holding  a string  of  pearls.  The  flesh  is  exquisitely  modelled, 
with  a masterly  certainty. 

Janssens  visited  England  in  1618,  where  he  met  with  a 
flattering  reception  and  was  taken  into  the  service  of  James 
I.,  whose  portrait  he  painted  several  times.  One  of  his  fin- 
est paintings  was  that  of  Sir  George  Villiers,  father  of  the 
famous  Duke  of  Buckingham.  Janssens  was  less  employed 
after  the  arrival  of  Van  Dyck,  although  he  remained  in  Eng- 
land until  1648.  Some  of  his  best  pictures  are  portraits  of 
Charles  I.  (at  Chatsworth  House),  the  Duke  of  Buckingham 
(Welbeck  Abbey),  William  Harvey  (Royal  College  of  Physi- 
cians), Sir  Christopher  and  Lady  Neville  (Wroxton  Hall), 
and  Admiral  Pennington  (Lord  Tollemache). 

This  picture  came  from  a celebrated  old  Elizabethan  house  at 
Fulham,  now  the  property  of  Mrs.  Crozier. 

Now  in  the  collection  of  Hon.  Chas.  F.  Sprague. 


CORNELIS  JANSSENS  VANT  CEULEN. 


PORTRAIT  OF  LITTLE  GIRL  IN  RED. 


No.  3J. 

CORNELIS  JANSSENS  (VAN  CEULEN). 

1594— 1664. 

Henrietta,  Duchess  of  Orleans. 

Height,  29  inches.  Width,  22  inches. 

The  lady  whose  portrait  has  been  lined  on  this  canvas  is 
invested  with  much  distinction,  not  alone  of  face  and  form, 
but  also  of  costume,  which  is  of  unusual  elegance  even  in  an 
epoch  when  fashionable  society  ran  to  great  extravagances 
in  dress.  The  Duchess  of  Orleans  is  attired  in  a gown  of 
yellow  satin,  the  collar  and  sleeves  of  which  are  of  exquisite 
lace.  A deep-red  sash  is  bound  around  the  waist,  and  the 
neck  is  adorned  with  a string  of  pearls.  The  curly  hair  falls 
in  waves  down  the  shoulders,  while  large  dark  eyes  look  out 
steadfastly  at  the  spectator,  and  the  mouth  is  full  of  expres- 
sion. Janssens  came  to  England  from  Amsterdam  in  1618, 
where  he  met  with  great  success,  being  taken  into  the  service 
of  James  I.,  whose  portrait  he  painted  several  times.  He 
also  painted  Charles  I.,  Henry,  Prince  of  Wales,  and  many 
other  royal  and  distinguished  persons. 

From  the  collection  of  J.  Whitehead,  Esq. 


No.  32. 


THOMAS  GAINSBOROUGH,  R.A. 

1 727— 1 788. 

Portrait  of  Mademoiselle  Le  Nain. 

Height,  30  inches.  Width,  25  inches. 

One  of  the  great  coterie  of  the  famous  early  Englishmen, 
painter  of  landscapes  of  the  highest  order,  as  well  as  a por- 
traitist, Gainsborough’s  reputation  has  increased  with  the 
years.  His  pictures  of  ladies  are  among  the  grand  achieve- 
ments of  his  school  and  time,  when  the  painters  of  England 
were  the  pictorial  historians  of  the  world  of  fashion,  when 
nearly  every  one,  at  one  time  or  another,  found  his  way  to 
the  studios  of  the  artists.  Mdlle.  Le  Nain,  a delicate,  poetic 
beauty  of  the  epoch,  is  represented  with  an  elaborate  coiffure, 
in  an  evening  gown,  and  with  one  hand  at  her  breast.  The 
eyes  have  much  expressiveness,  and  there  is  about  her  an  air 
of  patrician  origin. 

From  the  collection  of  A.  Wright,  Esq.,  Liverpool. 

Mentioned  by  Walter  Armstrong  in  his  work,  “ Gainsborough,  His 
Place  in  English  Art.” 


THOMAS  GAINSBOROUGH. 


MADAME  LE  NAIN 


No.  33. 


SIR  PETER  LELY. 

J6J8 — J680. 

The  Countess  of  Carlisle. 

Height,  42  inches.  Width,  32  inches. 

Lely  was  the  fashionable  portrait  painter  par  excellence 
of  his  time,  and  with  his  prestige  as  court  artist  to  Charles  II. 
he  had  an  astounding  vogue  in  England.  He  was  born  in 
Soest,  in  Westphalia,  but  came  early  to  London,  and  was 
successful  from  the  first.  This  elegant  noblewoman,  of  ample 
figure  and  stately  proportions,  in  her  impressive  black  gown, 
is  seated  out  of  doors  in  an  arm-chair,  with  a background  of 
rocks,  flowers,  and  sky.  A bush  of  roses  is  growing  to  the 
right,  and  a few  of  these  lie  in  her  lap,  on  which  her  left 
hand  is  extended  carelessly  yet  gracefully,  the  other  being 
on  the  arm  of  the  chair.  The  gown  is  lined  with  yellow 
satin  and  trimmed  with  pearls,  which  precious  stones  also 
encircle  her  neck  and  adorn  her  ears,  and  the  hair  is  worn  in 
curls — the  fashion  of  the  day. 


No.  34. 


PIETER  CODDE. 

J6J0 — 1666. 

Princess  Palatine. 

Height,  80  inches.  Width,  45  inches. 

A Dutch  painter  of  great  distinction,  contemporaneous 
with  Frans  Hals  and  Van  Dyck,  the  work  of  Pieter  Codde 
is  often  confused  with  that  of  the  latter  painter.  A master 
of  technique,  he  was  surpassed  by  none  of  the  men  of  his 
day.  Among  his  well-known  pictures  are : “ The  Flute 
Player,”  at  Haarlem  ; “ Game  of  Tric-Trac,”  at  The  Hague, 
together  with  canvases  at  the  Berlin  Museum,  Dresden 
Gallery,  Lichtenstein  Gallery  in  Vienna,  Belvedere  Gallery, 
Vienna,  and  elsewhere.  The  subject  here  is  a lady  robed  in 
black,  with  collar  and  cuffs  of  white  lace,  white  rosettes  on 
each  arm  and  at  her  waist.  There  is  a white  feather  fan  in 
her  right  hand.  The  hair  is  in  a crimped  mass  on  either 
side  and  banged  over  the  forehead.  Behind  is  a brown 
curtain.  With  the  left  hand  she  catches  her  skirt.  The 
painting  of  the  blacks  and  whites  is  quite  unusual  in  the 
realization  of  subtle  values,  and  the  treatment  of  the  lace  is 
most  dexterous. 

From  the  collection  of  Comte  Davillier. 

Now  in  the  Wilstach  collection,  Fairmount  Park,  Philadelphia. 


PIETER  CODDE  . 


PRINCESS  PALATINE 


No.  35. 


MICHIEL  JANSZEN  MIEREVELT. 

1567—  mt. 

Herr  Pieter  de  Schilde. 

Counsellor  of  Brabant.  Bom  1584. 

Height,  48  inches.  Width,  35  inches. 

Wonderfully  characteristic  is  this  unusually  fine  por- 
trait of  the  worthy  burgomaster  of  Brabant  as  he  is  seated  in 
his  official  chair,  with  his  state  robe  of  black,  trimmed  with 
fur.  The  stamped-leather  back,  the  carved  arms,  and  the 
general  style  of  his  chair  are  of  the  period,  while  the  head, 
coming  out  of  a great  ruff,  is  sturdy,  honest,  and  thoroughly 
in  the  personality  of  the  man.  The  sitter  wears  a beard  and 
short,  black  hair,  while  both  hands  are  resting  on  the  arms 
of  the  chair.  The  painting  is  solid  and  harmonious ; the 
construction  is  well  indicated,  and  the  general  treatment  is 
in  the  man’s  best  manner.  Indeed,  so  strong  an  example  of 
the  great  Dutchman’s  work  has  rarely,  if  ever,  come  to  this 
country.  Mierevelt  was  born  in  Delft,  and  came  to  England 
on  the  invitation  of  Charles  I.  to  paint  his  portrait.  He 
also  painted  portraits  of  royalty  and  the  great  men  of  his 
time  in  Holland  and  elsewhere,  and  he  is  represented  in  the 
various  museums  of  Europe. 

From  the  collection  of  the  late  M.  Maurius  Vlierboom  van 
Hoboken,  Amsterdam. 


No.  36. 

JACOB  RUYSDAEL. 

J630 — J6SJ. 

Forest  Scenery. 

Height,  35  inches.  Width,  48  inches. 

THIS  landscape,  grand  in  conception  and  noble  in  execu- 
tion, has  all  the  dignity  and  impressiveness  of  the  great 
Dutchman’s  work.  Through  a glade  in  the  forest  are  some 
cattle  drinking  at  a stream.  A dog  stands  by,  and  some 
figures  are  seen  in  the  distance.  Gnarled  oak-trees,  stately 
in  form  and  splendidly  drawn  and  painted,  make  great  masses 
against  a cloud-filled  sky,  touched  here  and  there  by  sun- 
light, which  also  filters  through  occasionally  and  illuminates 
the  turf.  A feeling  of  profundity  and  distance  is  well  con- 
veyed, and  the  composition  is  admirably  arranged. 

From  the  collection  of  Colonel  Hankey. 


JACOB  RUYSJDAEL. 


LANDSCAPE 


No.  37. 


SIR  JOSHUA  REYNOLDS. 

1 730— 1 792. 

Portrait  of  Sir  Walter  Blackett. 

Height,  30  inches.  Width,  25  inches. 

The  distinguished  president  of  the  Royal  Academy,  who 
for  so  many  years  enjoyed  to  a remarkable  degree  the  favor 
of  the  King  and  all  the  fashionable  world  of  London,  is  rep- 
resented here  with  one  of  his  virile  portraits  of  men.  Shown 
full  face,  the  subject  is  a dignified,  typical  English  noble, 
dressed  in  a blue  coat,  with  a white  neckerchief  and  wearing 
a wig.  The  face  stands  notably  out  from  a dark  back- 
ground. Painted  in  1778.  Sir  Joshua  painted  Sir  Walter 
Blackett  no  less  than  five  times. 


No.  38. 

BERNARD  VAN  ORLEY. 

J493 — J542. 

Madonna  and  Child. 

Height,  35  inches.  Width,  25  inches. 

A PUPIL  of  Raphael  and  a great  favorite  with  his  master, 
court  painter  to  Margaret  of  Austria,  Governess  of  the  Neth- 
erlands, this  renowned  Flemish  painter  was  the  author  of 
some  of  the  most  remarkable  sacred  pictures  of ' his  day. 
Many  of  them  are  in  the  museums  of  Brussels,  Antwerp, 
Munich,  Dresden,  and  the  Hermitage.  This  canvas  is  char- 
acteristic in  its  beautiful,  refined,  and  sympathetic  portrayal 
of  the  Holy  Mother,  who  holds  on  her  lap  the  child  Christ. 
Both  in  drawing  and  color  the  composition  is  full  of  ineffable 
charm,  while  the  arrangement  is  graceful  and  poetic. 

Now  in  the  collection  of  Mr.  R.  C.  Johnson. 


BERNARD  VAN  ORLEY 


MADONNA  AND  CHILD. 


No.  39. 

JOHN  OPE,  R.A. 

J 761 —J  807. 

Portrait  of  Mr.  Templeton. 

Known  as  “ The  Cornish  Wonder,”  Opie  had  a flattering 
success  in  London,  where  he  received  academic  honors  and 
painted  many  distinguished  persons.  The  athletic,  strong- 
faced youth  in  this  portrait  is  represented  with  great  vigor, 
and  is  painted  in  a virile,  certain  manner  that  shows  Opie’s 
mastery  of  his  tools.  With  auburn  curly  hair  growing  lux- 
uriantly and  the  clear  complexion  that  generally  accom- 
panies it,  the  young  man  here  represented  is  thoroughly 
British  and  typical  of  the  race. 


4 


No.  40, 


MADAME  VIGEE  LE  BRUN. 

1755—1842. 

Portrait  of  the  Contessa  de  Savorgnan. 

Height,  36  inches.  Width,  28  inches. 

The  interesting  career  of  this  distinguished  French  painter 
gives  added  tclat  to  her  work ; Madame  le  Brun  enjoying 
a patronage  in  France,  England,  Italy,  and  Russia  that  has 
come  to  few  men,  and  absolutely  never  before  or  since  to 
any  one  of  her  sex.  It  is  said  that  she  painted  no  less  than 
twenty-five  portraits  of  Marie  Antoinette,  with  whom  she 
was  on  terms  of  great  intimacy,  and  she  was  a member  of 
many  European  academies. 

Seated  on  a couch  surrounded  with  velvet  cushions  of  a 
deep  crimson  tone,  the  subject  of  this  portrait  bears  the  un- 
mistakable evidence  of  patrician  origin.  The  costume  of 
white  satin  fits  exquisitely,  and  is  enhanced  by  a delicate 
scarf  thrown  over  the  shoulders.  A powdered  coiffure  of 
the  fashion  of  the  day  gives  a distinction,  while  the  face, 
bright,  intellectual,  and  full  of  beauty,  is  painted  with  great 
vigor  and  a surety. 

From  the  collection  of  the  present  Contessa  Brazza  de  Savorgnan, 
near  Venice. 

Now  in  the  collection  of  Mr.  Victor  Morawetz. 


MADAME  VI GEE  LE  BRUN 


CONTE SSA  BRAZZA  DE  SAVORGNAN. 


No.  41. 

JOHN  HOPPNER,  R.A. 

1758 — 1810. 

Little  Gipsy  Girl. 

Height,  30  inches.  Width,  25  inches. 

HOPPNER  made  his  manner  of  painting  suit  his  themes,  and 
in  this  engaging  little  motive  his  treatment  is  full  of  ineffable 
charm,  for  in  depicting  the  girlishness  and  roguery  of  the 
little  model  he  has  obtained  much  daintiness  and  beauty. 
In  a woodland  stands  a child,  her  golden  hair  caught  by  the 
sunlight  and  her  face  brilliantly  lit.  A little  white  garment 
falls  off  the  shoulders,  and  in  her  hands  she  holds  some  grapes. 
The  eyes  are  bright,  the  face  smiling,  and  the  pink  and  white 
of  the  flesh  are  delightfully  rendered. 


Now  in  the  collection  of  Mr.  Victor  Morawetz. 


No.  42. 

EARLY  GERMAN. 

On  the  Way  to  Calvary. 

Height,  33  inches.  Width,  37  inches. 

The  primitive,  formal,  and  essentially  serious  manner  of 
the  early  German  art-workers  is  interestingly  put  forth  in 
this  canvas,  which  is  thoroughly  representative  of  the  time  and 
the  thought  of  the  epoch.  The  theme  is  “ The  Way  of  the 
Cross  ” as  seen  through  mediaeval  minds  ; the  costumes,  archi- 
tecture, and  surroundings  being  of  the  artist’s  time,  and  thus 
presenting  to  more  modern  minds  an  anachronism  exceed- 
ingly curious,  but  by  no  means  unusual  in  those  days.  The 
scene  is,  in  the  main,  St.  Luke’s  account  of  the  terrible  jour- 
ney of  the  Son  of  Man,  from  Jerusalem  to  Calvary,  bowed 
under  the  weight  of  the  Cross.  The  Saviour  is  assisted  by 
Simon  the  Cyrenian  in  his  awful  task,  and  behind  him  there 
are  those  who  jibe  and  jeer.  Behind  also  are  the  buildings 
of  the  city,  represented  in  this  case  as  a mediaeval  stronghold, 
while  in  the  words  of  the  Apostle,  “ and  there  followed  him  a 
great  company  of  people  and  of  women  which  also  bewailed 
him.”  The  three  Marys  are  seen  in  the  middle  of  the  com- 
position, while  in  the  immediate  foreground  are  a party  of 
young  men  and  old,  and  a knight  in  full  armor. 

Now  in  the  collection  of  Mrs.  Frank  Gair  Macomber. 


EARLY  GERMAJST. 


ON  THE  WAY  TO  CALVARY. 


No.  43. 


SIR  WILLIAM  BEECHY. 

1753— J83 9. 

Portrait  of  Miss  Murray. 

Height,  30  inches.  Width,  25  inches. 

Beechy  enjoyed  to  the  highest  degree  the  friendship  and 
favor  of  his  King  and  Queen,  and  painted  them  under  the 
most  interesting  circumstances ; his  renowned  canvas  of  the 
large  equestrian  portrait  of  George  III.,  with  the  Prince 
of  Wales  and  the  Duke  of  York,  at  a review  in  Hyde  Park, 
being  now  at  the  Hampton  Court  Gallery,  along  with  many 
other  of  his  portraits.  Queen  Charlotte  made  him  official 
portrait  painter,  while  all  fashionable  London  flocked  to  his 
studio.  While  he  was  renowned  for  the  accuracy  of  his 
likenesses,  his  conception  was  poetic,  his  color  delicate,  and 
his  brush-work  appetizing.  The  young  lady  in  this  portrait 
is  dressed  in  white,  and  leans  against  a tree  at  the  edge  of  a 
woodland,  a landscape  being  seen  to  the  left.  At  her  side 
is  a dog,  which  she  caresses.  An  attractive  girlish  face  is 
surrounded  by  a wealth  of  auburn  curls ; the  cheeks  are 
richly  colored,  and  the  eyes  look  frankly  out  at  the  spectator. 

Now  in  the  collection  of  Mrs.  Harriet  Lane  Johnston. 


No.  44. 


FRANS  POURBUS  (THE  YOUNGER). 

1570 — J622. 

Portrait  of  Josepha  Boegart. 

Appointed  court  painter  to  Marie  de  Medici  in  1611  and 
sought  after  by  the  nobility  and  fashion  of  his  time,  the 
Younger  Pourbus  has  left  many  portraits  of  the  illustrious 
personages  of  the  day. 

The  skill  of  the  famous  painter  of  Flanders  is  no  less  evi- 
dent in  the  still  life  of  this  portrait  than  in  his  treatment  of 
the  flesh  and  the  modelling  of  his  sitter’s  high-born  features, 
for  in  the  rendition  of  the  ruff  that  surrounds  the  neck  of 
the  subject  he  has  performed  wonders,  keeping  to  a remark- 
able simplicity  and  yet  missing  no  detail  of  the  elaboration 
of  needlework  and  embroidery.  The  color,  too,  of  this  piece 
of  feminine  adornment,  by  no  means  an  easy  problem  in  white, 
is  maintained  with  truth  in  the  lights  and  shadows  most 
faithfully.  The  lady  wears  her  hair  in  a series  of  waves,  and 
in  her  ears  are  large  pearls.  A long  necklace  is  festooned 
about  her  neck,  and  falls  over  a gown  of  costly  stuff,  on  which 
is  fastened  a brooch.  The  face,  not  less  thoughtfully 
painted,  is  smiling,  bright,  and  attractive. 

Now  belonging  to  Mrs.  Harriet  Lane  Johnston. 


FRANS  POURBUS. 


PORTRAIT  OF  JOSEPHA  BOEGART. 


No.  45. 

SIR  HENRY  RAEBURN. 

J756 — J823. 

Portrait  of  Mrs.  Margaret  Wilson. 

Height,  30  inches.  Width,  25  inches. 

Greatest  of  all  the  painters  which  Scotland  has  pro- 
duced, this  able  man’s  work  has  of  recent  years  become  to 
be  appreciated  at  its  full  worth,  and  to-day  his  pictures  are 
eagerly  sought  for  and  placed  properly  in  the  first  rank. 
Knighted  by  his  sovereign,  George  IV.,  in  1822,  he  had 
painted  for  years  in  Edinburgh  the  best  people  of  his  time 
and  nearly  all  of  the  distinguished  literary  lights  of  Scot- 
land. Frank,  direct,  and  comprehensive,  all  his  portraits 
possess  an  individuality  that  gives  them  distinction.  The 
subject  of  this  effort  is  a lady  dressed  simply  in  white, 
painted  out  of  doors  against  a tree,  with  a landscape  behind. 
It  is  engaging  in  the  brush-work,  good  in  color,  and  treated 
with  dignified  simplicity. 


No.  46. 

CHRISTOPH  AMBERGER. 

1490— \ 563. 

Portrait  of  a Nobleman. 

Height,  16  inches.  Width,  13  inches. 

CLOSELY  resembling  the  work  of  Holbein,  the  pictures  of 
Amberger  are  not  infrequently  confused  with  those  of  the 
former.  This  interesting  portrait  is  a remarkable  specimen 
of  finish  and  detail.  It  is  of  a sober-faced  Nuremberg  pa- 
trician with  thoughtful  features,  full  beard,  and  broad  shoul- 
ders. Upon  his  head  is  a beret  of  black  velvet,  with  embroi- 
dered ornaments  and  jewels.  The  coat  is  trimmed  with  fur, 
and  beneath  its  black  folds  is  seen  the  white  linen  of  the 
shirt.  The  background  is  of  light-yellowish  grajr. 

Now  in  the  collection  of  Mr.  Stanford  White. 


CHRISTOPH  AMBERGER. 


PORTRAIT  OF  A NOBLEMAN 


No.  47. 

JAKOB  JORDAENS. 

1593 — J678. 

Portrait  of  Madame  Teniers. 

Height,  26  inches.  Width,  20  inches. 

The  wife  of  David  Teniers  is  the  subject  of  this  picture. 
She  was  but  seventeen  at  the  time  of  her  marriage,  and  this 
picture  is  taken  but  little  later,  when  she  was  in  the  full  flush 
of  her  exquisite  girlish  beauty.  This  the  painter  has  caught 
admirably,  depicting  her  freshness  and  charm  with  unerring 
directness.  She  is  dressed  in  an  evening  gown  of  red  edged 
with  lace  ; she  wears  on  her  head  a jaunty  hat  with  trailing 
plumes  on  her  curling  blond  hair,  and  about  her  neck  are 
pearls.  A yellow  mantle  falls  from  her  shoulder.  It  was  no 
less  a distinguished  judge  of  good  art  than  the  great  Rubens 
who  placed  the  seal  of  approval  on  the  work  of  Jordaens 
and  was  instrumental  in  securing  for  him  many  commissions, 
among  others  a series  of  cartoons  for  the  King  of  Spain. 
Both  men  had  been  fellow-students,  and  Rubens  but  echoed 
the  general  opinion  of  the  talents  of  his  confrere. 


No.  48. 


SIR  ANTHONY  VAN  DYCK. 

1599— J64I. 

Wolfgang,  Duke  de  Newbourg,  Grand  Elector 

Palatine. 

Height,  87  inches.  Width,  54  inches. 

The  splendid  painter  of  Charles  I.  and  his  court,  the  fash- 
ionable world  of  London,  and  many  of  the  royalty  and  the 
nobility  of  the  continent  of  Europe,  the  gifted  genius  of  his 
time,  Van  Dyck  has  rarely  been  seen  to  better  advantage 
in  this  country  than  in  this  portrait  of  the  great  German 
prince,  who  stands  in  dignified  attitude  with  his  immense 
dog  beside  him.  It  is  a noble  portrait,  and  done  in  a masterly 
fashion  with  all  his  dexterity,  authority,  and  sincerity.  Seri- 
ous of  face,  wearing  a pointed  beard,  with  one  hand  at  his 
waist  and  the  other  by  his  side,  the  man  is  depicted  against 
an  imposing  column.  The  severity  of  his  black  clothes  gives 
added  importance  to  the  pose,  and  the  painting  of  the  blacks 
is  a tour  de  force  in  itself.  The  face  and  hands  are  superbly 
painted,  and  the  whole  canvas  is  held  together  in  a manner 
only  possible  with  so  able  an  artist. 

From  the  collection  of  the  Prince  of  Turn  and  Saxe. 

From  the  collection  of  Monsieur  L.  Alvin,  Professor  at  the  Brus- 
sels University.  Exhibited  in  1897,  at  Old  Masters’  Exhibition  in 
Brussels. 

A painting  by  Van  Dyck  of  the  “ Duke  de  Newbourg,”  very  similar 
to  this,  is  in  the  Munich  Gallery. 


ANTHONY  VAN  DYCK  . 


WOLFGANG -DUKE  DE  NIEUBOURG-  GRAND  ELECTOR  PALATINE . 


No.  49. 


FERDINAND  BOL. 

\6\\ — J68I. 

Portrait  of  Rembrandt. 

Height,  23  inches.  Width,  19  inches. 

This  portrait  of  the  master  Rembrandt,  painted  by  per- 
haps his  most  distinguished  pupil,  is  an  interesting  combina- 
tion in  the  way  of  artist  and  sitter,  and  is  a worthy  likeness 
as  well  as  a most  serious  artistic  rendition.  Rembrandt 
wears  his  famous  black  beret,  in  which  he  so  often  painted 
himself.  His  hair  is  gray,  but  still  curling  as  in  his  youth, 
and  the  expression  on  his  face  is  one  of  serious  thoughtful- 
ness, of  firmness,  and  yet,  withal,  sad.  Perhaps  it  was 
painted  when  the  master  was  at  the  lowest  in  the  tide  of  his 
misfortunes,  with  Saskia  dead  and  the  world  against  him. 
But  the  painting  is  broad,  powerful,  and  thoroughly  compre- 
hensive, and  the  masses  are  put  in  with  great  distinction. 


No.  50. 


ADRIAAN  HANNEMAN. 

t6ti — 1680. 

Portrait  of  the  Princess  Mary,  Daughter  of  Charles 
I.  and  Mother  of  William  of  Orange. 

Height,  74  inches.  Width,  41  inches. 

Gracefully  standing  with  one  foot  on  the  step,  the 
young  and  beautiful  royal  lady  for  this  picture  is  robed  in  a 
dress  of  heavy  white  satin,  which  she  holds  slightly  back 
with  her  left  hand.  Her  light  hair  falls  in  curls  over  her 
shoulders,  and  a blue  bow  fastens  the  collar  of  her  gown  over 
her  breast.  The  right  hand  catches  a red  curtain,  which  dis- 
closes a pillar ; the  face  is  sweet  in  its  expression  of  girlish 
innocence,  thoughtful,  and  refined ; the  textures  of  the  satin 
are  masterly  in  rendering.  Altogether,  the  composition  is 
most  striking,  and,  though  simple,  seems  novel  in  the 
arrangement.  Born  at  The  Hague,  a pupil  of  Ravestyne 
and  a great  admirer  of  Van  Dyck,  Hanneman  enjoyed  a 
great  reputation  and  patronage  in  his  native  town.  The 
success  of  Van  Dyck  in  London,  however,  induced  him  to 
visit  that  metropolis,  where  for  sixteen  years  he  enjoyed 
great  prosperity,  painting  royalty  and  the  nobility  of  the 
day.  On  returning  to  Holland  he  became  court  painter  to 
Mary,  Princess  of  Orange,  and  a director  of  the- Academy. 
He  is  represented  in  the  collections  at  Hampton  Court,  the , 
Vienna  Gallery,  and  Rotterdam  Museum,  and  at  Frankfort 
and  elsewhere. 


ADRIAAN  HANNEMAN. 


PRINCESS  MART-DAUGHTER  OF  CHARLES  I. 


No.  51. 

JAN  ANTHONISZ  VAN  RAVESTYNE. 

1572 — 1657. 

Portrait  of  a Dutch  Gentleman. 

Height,  40  inches.  Width,  33  inches. 

Few  of  the  Dutch  painters  enjoy  so  high  a reputation  as 
this  able  man.  Two  large  pictures  in  the  hall  of  the  Com- 
pany of  Archers  at  The  Hague,  one  a portrait  of  a great 
number  of  members  of  the  society  and  the  other  an  assembly 
of  twenty-six  magistrates  of  The  Hague,  are  among  the 
famous  paintings  in  Europe.  The  town  hall  of  The  Hague 
is  also  enriched  by  his  art  in  two  canvases  of  almost  the 
same  importance.  This  portrait  represents  a worthy  burgher 
of  the  artist’s  day,  clad  in  sober  black,  unrelieved  save  for 
large  white  cuffs  and  ruff.  A large  black  hat  is  worn,  and  in 
one  hand  is  carried  a glove,  the  other  resting  on  a table.  The 
sturdiness  of  type  is  admirably  carried  out,  and  the  painting 
is  unusually  frank  and  direct. 


No.  52. 


JACOPO  TINTORETTO. 

J5I8 — 1594. 

Venetian  Senators. 

Height,  28  inches.  Width,  34  inches. 

One  of  the  greatest  masters  of  all  time  in  composition, 
drawing,  and  color,  Ruskin  places  Tintoretto  above  Titian 
and  quite  beside  Michelangelo.  His  “ Paradise  ” at  the 
Ducal  Palace  in  Venice  is  the  largest  picture  on  canvas  in 
existence.  A worker  who  never  knew  fatigue,  experimenting 
in  and  positively  inviting  the  difficulties  of  his  art,  the  results 
of  his  lifetime,  whether  in  portraiture,  composition,  or  decora- 
tion, are  all  of  the  most  interesting,  serious,  masterly  quali- 
ties, and  he  gave  to  all  he  did  dignity,  authority,  and  the  inef- 
fable charm  of  genius.  This  delightful  canvas  of  the  two 
sober,  thoughtful  Venetian  senators  is  unmistakable  in  its 
thoroughness  and  artistic  rendition.  The  men  are  side  by 
side,  each  face  seen  in  three-quarter  view.  The  man  to  the 
left  has  a full  beard,  while  the  other’s  is  not  so  luxuriant. 
Both  are  garbed  in  the  sumptuous  ermine  robes  of  state,  with 
collars  showing.  The  painting  is  frank,  direct,  and  certain, 
while  the  modelling  is  all  that  could  be  asked.  Needless  to 
add  that  the  color  has  all  the  attractiveness  of  this  master  of 
pigment. 

Now  in  the  collection  of  Mr.  Stanford  White. 


JACOPO  TINTORETTO. 


VENETIAN  SENATORS. 


No.  53. 


FRANS  VAN  MEERIS. 

J635 — J68L 

The  Toilet. 

Height,  12  inches.  Width,  io  inches. 

Painter  to  the  Prince  of  Holland  and  having  the  highest 
appreciation  all  through  his  career,  van  Mieris  was  one  of  the 
distinguished  genre  artists  of  his  day.  His  pictures,  of  which 
he  painted  many,  are  in  nearly  all  the  galleries  of  Europe. 
Dresden  has  fourteen  ; Munich  an  equal  number  ; nine  are 
at  the  Uffizi  at  Florence;  six  are  at  the  Hermitage,  St. 
Petersburg,  while  three  are  in  the  Louvre  in  Paris,  and  there 
are  three  in  Buckingham  Palace,  London.  A lady  in  this 
panel  sits  at  her  toilet  table  ; she  is  handsomely  dressed  in 
stuff  of  yellow,  trimmed  with  fur.  An  older  woman  is  seen 
at  the  other  end  of  the  room  by  a fireplace,  and  great  atten- 
tion has  been  paid  to  the  detail  throughout. 


No.  54. 


JOHN  CROME  (“OLD  CROME”). 
Landscape. 

Height,  50  inches.  Width,  40  inches. 

ALTHOUGH  Crome  was  nearly  forty  years  of  age  before 
he  finally  exhibited  in  the  Royal  Academy,  he  had  for  some 
time  enjoyed  considerable  reputation  and  popularity  in  the 
provinces  with  his  landscapes,  and  had  managed  to  attract 
about  him  a considerable  following  among  the  younger 
artists;  and  he  founded  a society  at  Norwich,  where  annual 
exhibitions  were  held.  Here,  too,  he  had  his  home  and 
studio.  This  picture  is  one  of  his  great  achievements,  and 
in  its  color  scheme  is  most  unusual.  The  theme  is  a simple 
one,  depicting  some  trees  and  a stream ; the  treatment  of 
the  greens,  however,  is  masterly  and  satisfying  to  a degree, 
the  results  being  obtained  in  a manner  to  defy  analysis.  One 
of  the  monarchs  of  the  forest  has  been  touched  by  the  frost, 
and  has  turned  in  tone  to  a brilliant  red,  which  is  effectively 
suggested.  The  canvas  is  most  simple,  but  is  one  of  those 
truthful  renditions  that  possesses  great  distinction. 

Purchased  from  Messrs.  Thos.  Agnew  & Sons. 


JOHN  CROME  (OLD  CROME). 


LANDSCAPE 


No.  55. 

RICHARD  WEST  ALL,  R.A. 

1765— 1 836. 

The  Youthful  Jove. 

Height,  40  inches.  Width,  50  inches. 

Drawing  master  to  the  Princess  Victoria,  now  Her  Majesty 
the  Queen,  Westall  was  a member  of  the  Royal  Academy 
and  a popular  painter  of  his  day,  occupying  the  same  house 
jointly  with  Sir  Thomas  Lawrence  for  years.  This  strong 
picture  of  the  infant  Jove  shows  a nude  child  with  powerful 
face  and  limbs  seated  on  a cloud,  one  arm  resting  on  a goat 
that  lies  beside  him.  Behind,  an  eagle  crouches  and  regards 
him.  The  beautiful  flesh-color  of  the  child  is  accentuated 
by  the  brilliant  lighting,  and  the  entire  tone  of  the  picture 
is  one  of  much  harmony. 


5 


No.  56. 


SIR  GODFREY  KNELLER. 

f 646— i 723. 

Portrait  of  Lord  Temple. 

Height,  50  inches.  Width,  40  inches. 

Kneller  was  the  fashionable  portrait  painter  of  his  day 
in  England,  though  he  was  born  in  Lubeck,  and  was  a pupil 
of  Rembrandt  and  Bol.  He  gained  the  patronage  of  the 
great  Duke  of  Monmouth,  and  enjoyed  the  favor  of  Charles 
II.  He  painted  no  less  than  ten  sovereigns,  among  them 
Louis  XIV.  and  Peter  the  Great.  He  was  court  painter  to 
Charles  II.,  James  II.,  William  III.,  Queen  Anne,  and 
George  I.  Lord  Temple  in  this  canvas,  in  a wine-colored 
robe,  lace  necktie,  and  curled  wig,  leans  against  a carved 
pillar.  Full  sleeves  of  white  come  out  beneath  the  dress, 
and  the  hands  are  painted  with  loving  care,  as,  indeed,  is  the 
entire  picture.  To  the  left  a green  curtain  is  looped  against 
the  background. 

From  the  collection  of  the  Countess  of  Lindsay. 

Now  owned  by  Dr.  J.  E.  Stillwell,  New  York. 


SIR  GODFREY  KNELLER  . 


LORD  TEMPLF, . 


No.  57. 


PIETER  FRANSZ  DE  GREBBER. 

i 600— 1665. 

A Violinist. 

Height,  32  inches.  Width,  26  inches. 

The  Museum  of  Haarlem  has,  among  other  pictures  by 
this  painter,  “ The  Emperor  Barbarossa,”  “The  Patriarch  of 
Haarlem,”  and  “ Jacob’s  Sons  Bringing  to  him  Joseph’s 
Coat  ” ; and  the  Dresden  Gallery  contains  much  of  his  work. 
This  painting  represents  a young  man  playing  on  the  violin, 
singing  at  the  same  time  ; the  arms  are  bare,  as  is  the  chest, 
and  the  painting  of  the  former  is  skilfully  done.  The  hair 
and  the  background  are  dark ; throughout  there  is  a serious 
attention  to  the  large  masses,  which  are  put  in  with  unusual 
frankness  and  precision. 


No.  58. 

FRANS  POURBUS  (THE  YOUNGER). 

1 569— 1622. 

Archduchess  Isabella. 

Height,  36  inches.  Width,  28  inches. 

In  1611  Pourbus  was  appointed  court  painter  to  Marie 
de  Medici.  He  was  also  painter  to  the  Duke  of  Mantua,  and 
accompanied  Eleanor  of  Mantua,  sister  of  Marie  de  Medici, 
in  her  progress  through  France. 

Perhaps  never  has  this  distinguished  painter  attacked  a 
more  difficult  problem  than  the  present  canvas,  which  rep- 
resents the  royal  lady  in  the  most  intricate  costume  of  a 
period  when  costumes  ran  riot  in  a maze  of  embroideries, 
decorations,  and  subtle  eccentricities  of  the  dressmaker’s  art. 
Not  content  with  a ruff  of  amazing  complications  of  needle- 
work and  lace,  the  sitter  wears  a dress  literally  covered  with 
a mass  of  jewels,  trimming,  and  embroideries.  All  these 
Pourbus  has  caught  with  almost  photographic  exactness, 
never,  however,  neglecting  the  face,  which  is  painted  with  a 
distinction  that  holds  the  spectator  long  before  the  eye  is 
attracted  to  the  sartorial  embellishment  of  the  woman.  The 
right  hand  holds  a fan,  and  upon  the  thumb  is  a signet  ring ; 
the  left  hand  rests  on  the  dress,  while  on  the  wrist  is  a gor- 
geous bracelet.  A monogram  is  embroidered  on  the  right 
breast,  and  the  hair  is  worn  dressed  back  from  the  forehead. 


EM'S  POURBUS  . 


THE  ARCHDUCHESS  ISABELLA. 


No.  59. 


GERARD  VAN  HONTHORST. 

1590— \ 656. 

A Lute  Player. 

Height,  37  inches.  Width,  33  inches. 

CHARLES  I.  invited  Honthorst  to  come  from  his  native 
Holland  to  England,  where  he  was  employed  in  1628  in 
painting  the  palace  of  Whitehall  with  allegorical  figures.  He 
also  decorated  the  palace  and  the  House  in  the  Woods  in 
The  Hague,  and  painted  a series  of  pictures  for  the  King  of 
Denmark.  The  latter  part  of  his  life  he  gave  to  portraiture. 
An  able,  serious  colorist  and  draughtsman,  Van  Honthorst 
has  secured  an  unusually  fine  result  in  this  canvas.  The  lady, 
a dark  beauty  with  black  hair  arranged  with  feathers  and 
wearing  a loose  gown  of  blue  and  white,  plays  the  lute. 
Music  is  on  a table  to  her  right,  and  her  body  is  bent  forward. 
The  tones  of  the  picture  are  of  fine  quality,  and  the  brush- 
work  is  authoritative,  while  the  drawing  is  excellent  and  the 
whole  freely  handled. 


FEDERIGO  ZUCCARO. 

J543 — J609. 

Lady  of  the  Elizabethan  Period. 

Height,  46  inches.  Width,  38  inches. 

FOUNDER  of  the  Academy  of  St.  Luke  in  Rome  and  the 
decorator  of  many  churches  and  chapels  in  Italy,  Zuccaro 
found  his  way  to  Flanders,  Holland,  and  England,  where  he 
painted  several  portraits  of  Queen  Elizabeth  and  other  dis- 
tinguished persons,  no  less  than  twenty-one  of  which  were 
exhibited  in  London  in  1866,  when  a show  of  the  painter’s 
work  was  held.  The  lady  in  this  canvas  wears  the  somewhat 
archaic  costume  of  the  day  of  the  Virgin  Queen,  with  waist 
held  stiffly  in,  puffed  sleeves,  and  a great  ruff  about  the  neck. 
From  the  waist  the  dress  flares  out,  and  the  hair  is  arranged 
with  equal  rigidity.  Very  elaborate,  too,  is  the  decoration  of 
this  costume,  with  its  many  threads  of  gold  and  silk  deftly 
woven  into  the  fabric.  On  the  hands  are  rings,  and  about 
the  neck  are  chains. 


ZUCCARO. 


LADY  OF  THE  ELIZABETHAN  PERIOD. 


No.  61. 

THOMAS  GAINSBOROUGH,  R.A. 

J 727— J 788. 

Portrait  of  Miss  Burdett. 

Height,  21  inches.  Width,  17  inches. 

ONE  of  the  greatest  names  in  the  English  school,  whether 
in  landscape  or  portraiture,  Gainsborough  painted  his  King, 
the  royal  family,  and  most  of  the  prominent  men  and  women 
of  his  day.  This  dainty  little  canvas  of  a child,  dressed  in  a 
green  waist  and  wearing  a turban,  has  all  the  piquancy  of 
infancy.  The  laughing  face,  the  bright  eyes,  and  dimpled 
cheeks  are  tenderly  suggested,  while  the  tousled  hair  of  gold 
sets  off  the  head. 


From  the  collection  of  the  Earl  of  Aberdeen. 


No.  62. 


SIR  MARTIN  SHEE. 

\ 769— 1 850. 

Portrait  of  Lord  Campbell. 

Height,  56  inches.  Width,  44  inches. 

Sir  Martin  was  fourth  president  of  the  Royal  Academy, 
following  Sir  Thomas  Lawrence.  His  portrait  of  the  Duke 
of  Clarence  is  well  known  through  a fine  engraving,  and  his 
portraits  of  William  IV.  and  Queen  Adelaide,  as  well  as  those 
of  Queen  Victoria  and  Prince  Albert,  are  among  his  best 
works.  They  are  now  at  Windsor  Castle.  The  eminent 
jurist  depicted  on  this  canvas  is  in  full  judicial  robes,  with 
great  white  curled  wig,  a lace  tie  and  cuffs.  He  is  seated  in 
a large  arm-chair,  and  holds  in  one  hand  a document.  Upon 
a desk  beside  him  are  books  and  writing  material,  and  behind, 
a curtain,  half  looped  up,  discloses  part  of  a column.  The 
face  is  full  of  intellectuality  and  thought,  while  the  drawing 
and  painting  make  this  a most  worthy  and  notable  example 
of  the  man’s  powers. 


SIR  MARTIN  SHEE. 


PORTRAIT  OF  LORD  CAMPBELL. 


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